論德勒茲「時間―影像」所建構電影影像存有之意義

On the Significance of Filmic Images Constructed by Deleuze’s “Image-Temps”

本文主要探究德勒茲(Gilles Deleuze, 1925-1995)的電影影像之存有。德勒茲在《電影I：運動―影像》及《運動II：時間―影像》二本著作中說明電影影像之定位與意義。本文藉對此二文本爬梳「運動―影像」與「時間―影像」之形構方式與特殊涵義，說明對德勒茲而言，電影影像之存有，以及德勒茲對電影影像之啟發。本文首先透過文本闡釋運動―影像，進而提出運動―影像之延伸，即時間―影像。本文最末為德勒茲對電影影像所提出之存有，做一說明與總結。

This article primarily explores the concept of the ontology of filmic images according to Deleuze. Deleuze’s works, “Cinéma I: L'imagemouvement” and “Cinéma II: L'image-temps,” elucidate the positioning and significance of filmic images. By examining the structural approach and unique implications of the “image-mouvement” and the “image-temps” presented in these two texts, this article aims to illustrate the notion of ontological presence of filmic images in Deleuze’s framework and his insights into filmic images. The article begins by explicating the “image-mouvement” through textual analysis and further extends it to the “image-temps.” Finally, a clarification and summary are provided regarding Deleuze’s proposed ontology of filmic images.